Running one of the largest production/studio potteries in the U.S. requires a good sense of how to design, use machines, manage people and keep records. Through an in-depth look at his work and processes, Pennsylvania potter Bill Campbell explains how and why he built such a large-scale operation.

Kansas City potter Steven Hill considers his work “not so much a product line developed to fill a particular need, but a functional reflection of my personality, aesthetic sensibility and maybe even a bit of my soul.”

To Florida potter Patrick Dragon, the surface of a wheel-thrown vessel is like a plaster wall ready for a fresco. “It’s sensitive to almost anything—I can paint on it, apply glazes, even add ceramic decals, gold leaf, ink and a variety of other collage elements.”

Dale Zheutlin (New Rochelle, New York) prepares a model for a commission at her converted-warehouse studio. Her article about “Site-Specific Wall Sculpture” describes how to produce a large, multisectional wall form as well as sell the concept.